WEBVTT 00:00.000 --> 00:17.560 The signal oil program, the Whistler. 00:17.560 --> 00:40.960 That whistle is your signal for the signal oil program, the Whistler. 00:40.960 --> 00:47.680 I am the Whistler and I know many things for I walk by night. I know many strange 00:47.680 --> 00:52.200 tales hidden in the hearts of men and women who have stepped into the shadows. 00:52.200 --> 01:01.720 Yes, I know the nameless terrors of which they dare not speak. 01:01.720 --> 01:06.800 Yes friends, it's time for the signal oil program, the Whistler. Rated by 01:06.800 --> 01:12.080 independent research, the most popular West Coast program in radio history. In 01:12.080 --> 01:16.280 gasoline, you know, it takes extra quality to give you extra mileage and 01:16.280 --> 01:22.000 signal is the famous go-farther gasoline. So look for the signal circle sign in 01:22.000 --> 01:26.160 yellow and black that identifies friendly dealer-owned signal service 01:26.160 --> 01:33.320 stations from Canada to Mexico. And now the Whistler's strange story, the black 01:33.320 --> 01:39.160 book. 01:39.160 --> 01:44.040 Paul had looked forward to the opening night in Philadelphia for months and if 01:44.040 --> 01:49.040 anything it had exceeded his brightest hopes. In a way it was a reward for the 01:49.040 --> 01:53.680 four long years of struggle since he'd come to Cecil Wenham's Valley Arts 01:53.680 --> 01:59.600 Company as an unknown dancer from London. Yes, Philadelphia was a wonderful opening 01:59.600 --> 02:06.080 with five curtain calls for him alone after Spectre of the Road. 02:08.960 --> 02:13.960 He knew he had America in the palm of his hand now, that the morning papers 02:13.960 --> 02:18.760 would hail him as a star, that he was no longer a promising newcomer but a great 02:18.760 --> 02:24.560 dancer. So it was ironic on that night in Philadelphia, with the applause still 02:24.560 --> 02:29.320 ringing in his ears, that Cecil Wenham should come into Paul's room and shatter 02:29.320 --> 02:34.440 his dream into a thousand bits. Paul. Hello Cecil. Paul, I've done it. I've signed 02:34.440 --> 02:37.040 her up. You'd better tell me tomorrow. I'm dining with some friends. A three-year 02:37.040 --> 02:40.600 contract exclusive with options on two more. Look Cecil. I want you to meet her 02:40.600 --> 02:45.320 Paul. She's up in my office now. All right. Who is it Cecil? Of course I couldn't 02:45.320 --> 02:49.120 tell you her name until now but Paul we've got the greatest choreographer and 02:49.120 --> 02:52.480 ballet mistress in the business. I had a hard time persuading her to leave London. 02:52.480 --> 02:56.760 Wait a minute. London. Oh she's been topped over there for years. Who is it Cecil? 02:56.760 --> 03:05.040 Tell me. Catherine Valadon. Catherine Valadon. You hired Valadon. You know her? 03:05.040 --> 03:09.720 But she doesn't dance. I'm buying her head not her feet. She'll direct the company 03:09.720 --> 03:14.520 for us. She's out there now. Yes. I said I was late Cecil. Oh come on. Did you hear me? 03:14.520 --> 03:24.680 I'm late. I don't want to talk to anybody. Now please leave me alone. 03:24.680 --> 03:30.560 Yes it's ironic isn't it Paul? This night of triumph the great performance, the 03:30.560 --> 03:35.720 resounding applause suddenly becomes meaningless and there's a heavy feeling 03:35.720 --> 03:42.600 of defeat inside you as you sink into the sofa in your dressing room alone now. 03:42.600 --> 03:48.120 You sit there thinking half hearing the music of the finale and in your mind it 03:48.120 --> 03:53.240 seems to change slowly and strangely into another melody on a rehearsal piano 03:53.240 --> 04:01.720 four years ago in a London theater. A couple moves down stage center. The young 04:01.720 --> 04:06.960 man steps to one side as the woman comes to a point in front of him. The man is 04:06.960 --> 04:12.360 you Paul and the woman Catherine Valadon. 04:12.360 --> 04:21.760 No no no stop it. We're all off. Do you mind Paul? I'd like to get it right just this once. 04:21.760 --> 04:26.040 What's the matter now? You're supposed to lift me at that passage. I know it. Then why did 04:26.040 --> 04:30.360 you stand there like an oaf? You are at least two beats behind me. I was following 04:30.360 --> 04:33.800 the music that's more than I can say for you. Wait a moment now. 04:33.800 --> 04:38.760 Carling won't get us anywhere. What's the trouble Catherine? I am waiting for Paul to 04:38.760 --> 04:44.200 decide to become a dancer. Perhaps you can convince him Mr Brady. I am ready to 04:44.200 --> 04:50.120 give up. I'll be in my dressing room if you need me. What's the idea Paul? She's 04:50.120 --> 04:53.200 always waiting for me to slip so she can pounce on me. You had no right to talk to 04:53.200 --> 04:57.320 her like that. The timing was off and you know it. No wonder it's off. I told you I 04:57.320 --> 05:02.240 can't dance with her. She's a she's a machine not a woman. Listen to me Paul. I'm 05:02.240 --> 05:05.640 not going to let that phony artistic temperament of yours upset this company. 05:05.640 --> 05:09.200 You're going to her dressing room right now and apologize to her. I'll do nothing 05:09.200 --> 05:13.920 of the kind. You'll do it or leave the company. Look Brady that's pretty 05:13.920 --> 05:16.920 unreasonable of you. I'm dealing with an unreasonable man. 05:16.920 --> 05:22.520 Could you do as I say? Very well Brady. 05:30.440 --> 05:36.480 Well Paul. I've come to tell you that I'm sorry. How sweet of you. You can write 05:36.480 --> 05:41.000 that in your little black book too. At exactly 3 15 and a half on the 05:41.000 --> 05:44.920 afternoon of October 18th Paul Cartmell came into your dressing room and 05:44.920 --> 05:50.240 apologized humbly. Did you come here to insult me again? You'll be a charming 05:50.240 --> 05:55.760 woman if you weren't such a machine. Everything so so prompt, precise, exact. 05:55.760 --> 06:00.880 It's my profession. It's your life. You're not human Catherine. Suppose you forget 06:00.880 --> 06:06.000 about me and concentrate on your own shortcomings. All right. All right I'm 06:06.000 --> 06:11.880 sorry. Is he going on with the rehearsal? Of course. All right let's try it again 06:11.880 --> 06:16.680 and this time keep your mind on your work. 06:21.840 --> 06:27.160 Yes it's coming back to you isn't it Paul? How you walked back on the stage 06:27.160 --> 06:32.520 with her humiliated raging inside trying to ignore the embarrassed faces of the 06:32.520 --> 06:36.880 rest of the cast. The pianist picked up your cue and the two of you moved 06:36.880 --> 06:44.200 together. She was poised before you on the point and as you moved in to lift her 06:44.200 --> 06:49.200 a single idea took hold of you. Yes there's a traditional hazard in the ballet 06:49.200 --> 06:55.520 Paul. A dancer dropped hard on a pointed toe will never dance again. You lift her 06:55.520 --> 07:15.080 above you higher and higher. Then in a blind rage you relax your hold. 07:15.080 --> 07:21.840 How is she doctor? I can't say yet. We're waiting for the x-rays. Is it is it all 07:21.840 --> 07:25.440 right for me to go in? Oh of course. Her friends are in there with her. Thank you. 07:25.440 --> 07:30.480 You're being a wonderful sport about it all Cathy. Why not you don't think a little thing like a bruised toe. 07:30.480 --> 07:39.360 Oh hello Catherine. Paul what a lovely bouquet. I hope you like them. I love them 07:39.360 --> 07:45.720 darling it's so thoughtful of you. Catherine I I want to tell you how awful 07:45.720 --> 07:51.240 I feel. I I don't know what happened. Not another word now. It was an accident Paul. 07:51.240 --> 07:54.640 Of course it was happens in the best of company. And they've all told me I'll be as good as 07:54.640 --> 08:00.120 ever in a week or so. Now run along you two. I want to talk to Paul. Sure enough 08:00.120 --> 08:05.920 keep it up old girl. Goodbye Cathy. Goodbye. See you tomorrow at one. One thirty dear. Visiting hours you know. 08:05.920 --> 08:12.080 Put me in the black book darling. I'm so glad you're taking it this way Catherine. 08:12.080 --> 08:21.160 I felt like such a heel. That's just it. You are a heel. What do you mean? Do you 08:21.160 --> 08:27.680 think I'm stupid Paul? Do you think I'm blind? Accident. Everyone's talking about my 08:27.680 --> 08:33.280 unfortunate accident. Now just a minute. You did not slip Paul. I felt you let me 08:33.280 --> 08:37.280 go deliberately. And don't think I've swallowed that sugarcoat and nonsense 08:37.280 --> 08:43.480 about coming out of it as good as ever. I'm through as a dancer and I know it. Do 08:43.480 --> 08:48.160 you know what it's like to be through Paul? Do you know how it feels to lie in a 08:48.160 --> 08:55.440 hospital bed with everything behind you and nothing ahead? Well you're going to 08:55.440 --> 09:01.760 know Paul. I'm going to show you if it takes the rest of my life. 09:07.280 --> 09:12.520 And that's what brought you to America Paul. You never admitted it even to 09:12.520 --> 09:17.720 yourself. Told yourself it was the war. Gave yourself a thousand other reasons. 09:17.720 --> 09:23.880 But at the bottom of it was fear. Of a little black-eyed ballerina you knew 09:23.880 --> 09:27.880 would kill you if everything else failed her. 09:30.320 --> 09:36.480 Yes Paul. Catherine Valadon is caught up with you at last. In spite of the new 09:36.480 --> 09:42.440 name Paul Cooper. The new country. The new career. And as you lean back on the sofa 09:42.440 --> 09:46.840 in your dressing room you know that here in Philadelphia in a single evening you've 09:46.840 --> 09:56.280 won and you've lost. Paul. Yes Cecil. Mademoiselle Valadon may I present our star Paul 09:56.280 --> 10:02.620 Cooper. Don't get up. I didn't intend to. Well Paul. Don't let it bother you Mr. 10:02.620 --> 10:07.960 Venom. Paul and I are old friends. We've been through a lot together in London. 10:07.960 --> 10:13.480 Haven't we Paul? In those days it was Paul Cartneld. For heaven's sake Catherine. 10:13.480 --> 10:19.960 He's always this way when he's tired Mr. Venom. Well I better run along. You can 10:19.960 --> 10:24.400 call rehearsal tomorrow morning at nine sharp. Please see that no one is late. 10:24.400 --> 10:31.720 Well taking over tomorrow eh? Yes Mr. Venom. I'm taking over tomorrow. 10:31.720 --> 10:43.720 With the prologue of the black book the Signal Oil Company brings you another 10:43.720 --> 10:51.840 strange story by the Whistler. But now a timely tip for you drivers. The hot 10:51.840 --> 10:56.400 summer months ahead put an extra strain on a car's cooling system often causing 10:56.400 --> 11:00.800 motors to overheat. That's why it's a good idea to have your signal dealer 11:00.800 --> 11:06.920 inspect your radiator now. As cars grow older radiators often become choked with 11:06.920 --> 11:11.960 rust and sludge. To take care of this signal dealers have special rust and 11:11.960 --> 11:17.160 sludge dissolving compound that restores the radiators cooling efficiency but 11:17.160 --> 11:22.120 can't harm the metal. If your radiator has any small leaks your signal dealer 11:22.120 --> 11:27.560 has radiator sealer that stops them in a jiffy. And in any case even with new cars 11:27.560 --> 11:32.800 it's wise to add rust preventative that protects both radiator and motor from 11:32.800 --> 11:38.040 future corrosion. You see signal service stations are much more than places to 11:38.040 --> 11:43.760 buy signals famous go farther gasoline and signal premium motor oil. Wherever 11:43.760 --> 11:48.920 you see signal circle sign in yellow and black there you'll also find complete 11:48.920 --> 11:54.800 conscientious signal service to help your car run better, look better, and last 11:54.800 --> 11:59.680 longer. And now back to the Whistler. 12:14.000 --> 12:18.840 So it all came to a climax in Philadelphia Paul with a ballet 12:18.840 --> 12:23.120 performance of Spectre of the Rose that made all the years of struggle worthwhile 12:23.120 --> 12:28.880 and it's strange somehow that on your night of triumph a woman named Catherine 12:28.880 --> 12:34.240 Valadon should walk out of your past and threaten to destroy it all. Your positive 12:34.240 --> 12:38.880 is only one reason why she came to the company as choreographer. The reason she 12:38.880 --> 12:57.440 gave you in that London hospital room four years ago. By morning you know 12:57.440 --> 13:02.320 there's only one answer you've got to make Wenham change his mind. I tell you 13:02.320 --> 13:06.840 it won't work Cecil. Either Valadon goes or I do it. What's happening to you Paul? 13:06.840 --> 13:10.800 Catherine's doing such a fine job now I want you to pull yourself together and 13:10.800 --> 13:14.960 start dancing. I refuse to go on tour under these conditions. Oh must I remind 13:14.960 --> 13:18.800 you of your contract? I don't care. You'd better care if it's violated you'll 13:18.800 --> 13:26.160 never dance again. Never dance again. That's what she said. What? Listen Wenham you don't know her. 13:26.160 --> 13:29.080 She's not just trying to drive me out of the company it's more than that. 13:29.080 --> 13:32.800 She'll stop at nothing. I don't understand you Paul. What? I can't tell you 13:32.800 --> 13:36.760 anymore but you've got to make a choice right now Cecil. Valadon or me. 13:36.760 --> 13:41.160 I want you both for the good of the company. However if you force me well 13:41.160 --> 13:46.120 you're big but you can be replaced. All right. All right replace me. Then another 13:46.120 --> 13:49.880 company. Oh you're talking nonsense. Furthermore your contract is not for sale. 13:49.880 --> 13:53.960 I can hold you for two years even if I put you to work shifting scenery. You 13:53.960 --> 13:58.080 don't even have to dance you know. You better run along now. Valadon's waiting 13:58.080 --> 14:00.600 for you at rehearsal. 14:00.600 --> 14:11.040 It's no use Paul you're back in the old routine under Catherine's thumb again. 14:11.040 --> 14:16.120 Just like four years ago in London. Only she's worse now isn't she? Much worse 14:16.120 --> 14:21.480 because she's doing it all for a purpose. Yes and she doesn't let up for an 14:21.480 --> 14:23.800 instant. 14:23.800 --> 14:34.720 Well our prima donna has finally decided to attend the rehearsal. I'm sorry I'm 14:34.720 --> 14:38.240 late I wasn't sure what time to call. The schedule is on the board. 14:38.240 --> 14:43.200 Get paper easy end 1030 a.m. sharp. Can I be clearer than that? Is the world going to 14:43.200 --> 14:47.320 fall apart if I'm two minutes late? A real artist takes pride in precision. I 14:47.320 --> 14:52.840 prefer to save it for the dance. An excellent idea. You'll need it in the new 14:52.840 --> 14:56.620 specialty I'm preparing. What are you talking about? I'm working out the 14:56.620 --> 15:02.400 choreography now. It's a pas de deux especially for you Paul. I want to have it 15:02.400 --> 15:05.880 ready by the time we go on tour. 15:09.080 --> 15:14.160 You're frantic now not knowing what's in the back of her mind and during the days 15:14.160 --> 15:18.960 that follow you wonder about the special dance she's preparing. What she meant when 15:18.960 --> 15:24.400 she said it was especially for you. It becomes clear the afternoon she 15:24.400 --> 15:29.120 introduces you to Eric Ballard a big hulking man who'd look more at home in 15:29.120 --> 15:36.800 the wrestling ring than on a ballet stage. I meant to tell you more about Eric Paul. 15:36.800 --> 15:42.120 He'll be an excellent supporting partner for you. Partner? Yes in the new ballet I'm 15:42.120 --> 15:46.800 creating. Mr. Benham thinks it's very original. Actually it's based on 15:46.800 --> 15:51.280 something we used to do in London. You and I. Catherine what are you trying to do? 15:51.280 --> 15:56.880 You remember Paul? The one we were rehearsing the day you slipped? I've 15:56.880 --> 16:02.440 rearranged it entirely. Eric here takes your place you take mine. I take your 16:02.440 --> 16:06.280 place. It sounds like an exciting number to me Mr. Cooper. Eric why don't you go get 16:06.280 --> 16:10.920 Mr. Benham we'll run through it for him. Sure thing Miss Balladon. Be right back. 16:10.920 --> 16:15.720 Catherine what is this? Why did you hire that hulking fool of... Eric please Paul. 16:15.720 --> 16:21.960 He's sweet to his friends. And devoted too. I suppose he'd do anything you tell him. 16:21.960 --> 16:28.680 Perhaps but you needn't worry about the dance. He is very strong Paul. I won't do 16:28.680 --> 16:32.920 it Catherine. If you think I'll fall for this crude attempt at revenge. Revenge? 16:32.920 --> 16:38.040 That's the most you've ever admitted. I well I don't mean... Perhaps I should recall that 16:38.040 --> 16:41.880 little London incident to the trade papers. Let them know that their 16:41.880 --> 16:47.040 celebrated Paul Cooper is actually the Paul Cartnell who deliberately dropped 16:47.040 --> 16:51.960 the great ballerina and made certain that Catherine Balladon would never dance 16:51.960 --> 16:56.120 again. Catherine that's all forgotten you wouldn't make any... You'll rehearse this 16:56.120 --> 17:01.800 number with Eric and is ready for the time when we want to add some variety to 17:01.800 --> 17:09.840 the program. Whatever you say Catherine. Good you should enjoy it Paul. As Eric 17:09.840 --> 17:14.400 said it will be very exciting. 17:21.720 --> 17:27.020 The tour that follows is a nightmare with each new city a threat. You've 17:27.020 --> 17:31.680 rehearsed the new ballet with Eric and all but the spectacular bit which is to 17:31.680 --> 17:36.360 be performed on a high platform and you never know when Catherine will decide 17:36.360 --> 17:41.520 that the time is right for her revenge. She knows you're afraid Paul that's all 17:41.520 --> 17:47.040 part of it keeping you in suspense this way. From Philadelphia the company goes to 17:47.040 --> 17:53.160 Cincinnati then St. Louis Chicago and on west to Denver. You expect the crisis 17:53.160 --> 17:58.960 there but it doesn't happen. Finally in the last night in Denver when there's 17:58.960 --> 18:03.920 only San Francisco left ahead you decide you can't stand it any longer that you 18:03.920 --> 18:08.780 must face Catherine and have it out. As you approach your dressing room you hear 18:08.780 --> 18:16.120 her talking to someone and step back out of sight as the door opens. Are we going 18:16.120 --> 18:19.560 on ahead of the rest of the company Miss Balladon? Yes I have to make extra 18:19.560 --> 18:26.520 arrangements. The thing we discussed Eric it's coming off in San Francisco. Well I've 18:26.520 --> 18:33.400 been wondering if you changed your mind. You start after them Paul and then start 18:33.400 --> 18:38.560 confused wondering. Through the open door of Catherine's dressing room you catch 18:38.560 --> 18:43.720 sight of a notebook on a dressing table. The famous black book that contains 18:43.720 --> 18:48.440 every move she makes every decision every appointment. You hurry over to it 18:48.440 --> 18:54.000 thumb through the pages before she comes back. It's all there Paul. The hotel on 18:54.000 --> 18:57.880 Knob Hill where Catherine will be staying. Her room number, the business 18:57.880 --> 19:03.320 meetings, a list of appointments. The last one with Eric to end promptly at 11 19:03.320 --> 19:08.160 tomorrow night. Then at the top of the next page the thing you're looking for 19:08.160 --> 19:15.040 final rehearsal Cooper's specialty Monday 9 a.m. There's no question now Paul 19:15.040 --> 19:30.040 she's made up her mind you're going to have an accident Monday. There's still an 19:30.040 --> 19:35.760 alternative of course you can let Catherine end your career or meet her on 19:35.760 --> 19:41.240 her own ground. 19:41.240 --> 19:46.280 By the time she's left on the train you still haven't decided. It's the only 19:46.280 --> 19:50.440 thing on your mind as you stand in line at the railroad terminal waiting to pick 19:50.440 --> 19:54.640 up your reservation. There's a worried little man ahead of you. Listen I've 19:54.640 --> 19:58.600 simply got to get space on that San Francisco train. I can give you an upper on 19:58.600 --> 20:02.400 the next one but it won't do it won't do it all. You see I'm meeting the steamer 20:02.400 --> 20:06.240 there the Silver Star sailing for Shanghai the next train will miss it. I'm 20:06.240 --> 20:09.480 awfully sorry sir perhaps if you wait around there'll be a cancellation. Oh I 20:09.480 --> 20:13.960 see thank you. 20:13.960 --> 20:20.000 It comes to you at that moment Paul this is perfect. This train you'd plan to take 20:20.000 --> 20:23.600 ahead of the rest of the company the frantic little man desperate for a ticket 20:23.600 --> 20:28.560 on his way out of the country. You pick up your reservation walk over to the 20:28.560 --> 20:34.640 stranger pacing anxiously in the corner of the station lobby. Excuse me you wanted 20:34.640 --> 20:40.120 to go to San Francisco. Yes I simply got to get on that train. So I heard I have I 20:40.120 --> 20:43.760 have a ticket here I want somebody to use. Oh I'm a I'm a traveling man you see 20:43.760 --> 20:47.760 and well I I want my boss to think that I'm on that train. Oh but isn't it. 20:47.760 --> 20:54.640 Nothing to it. All you have to do is travel in my name. Paul Cooper. What about 20:54.640 --> 21:00.440 it Cooper. Mr. for a place on that train I travel as Mickey Mouse. Oh fine then 21:00.440 --> 21:04.560 it's a deal Mr. Cooper. 21:18.160 --> 21:22.880 What time is your next flight for San Francisco. We have space available on our 21:22.880 --> 21:27.000 five o'clock flight tomorrow. Not till then I could do almost as well by leaving 21:27.000 --> 21:32.080 by train tonight. Not quite sir our plane arrives in San Francisco tomorrow night 21:32.080 --> 21:37.520 at 11. The train leaving tonight doesn't reach San Francisco until a half hour after midnight 21:37.520 --> 21:43.440 1230. So you save at least an hour and a half. Well I guess I can use an hour and a 21:43.440 --> 21:47.760 half extra sleep as well as anybody. Send the ticket over to the Denver Hotel 21:47.760 --> 21:55.040 please. I'll leave the money at the desk. The name is Jackson. 21:57.880 --> 22:03.880 An hour and a half Paul that's how much time you'll have but it's enough. Boy 22:03.880 --> 22:08.640 you're on a schedule now too. As exact a schedule as the one in Catherine's 22:08.640 --> 22:12.320 little black book. 22:12.320 --> 22:19.440 You stay overnight at the Denver Hotel under the name of Jackson then pick up 22:19.440 --> 22:24.160 your plane ticket. The next afternoon at 5 you're taking off for San Francisco. 22:24.160 --> 22:29.520 It's a swift flight uneventful and half an hour after landing at Mills Field 22:29.520 --> 22:34.120 you're stepping out of the elevator on the top floor of Catherine's Hotel. You 22:34.120 --> 22:38.400 wait until the elevator starts down and then hurry to the stairs. Catherine's room 22:38.400 --> 22:43.320 is actually two floors below. You glance at your watch as you knock softly on a 22:43.320 --> 22:49.520 door. 1135 and the black book told you her appointment with Eric was to end 22:49.520 --> 22:57.000 promptly at 11. You can depend on that Paul. Just a minute. 23:00.080 --> 23:05.480 Paul what are you doing here at this time of night? I thought you were on the train. 23:05.480 --> 23:11.640 I am on the train Catherine. What's the matter with you? Have you been drinking? 23:11.640 --> 23:18.760 No Catherine. What's this all about? Why have you come here? To see you. What about? 23:18.760 --> 23:24.240 Your unfinished business Catherine. I don't want to discuss that now. Please go 23:24.240 --> 23:28.880 Paul. No more discussions eh Catherine. The appointments for the day over 23:28.880 --> 23:38.600 complete. There'll be no interruptions. What are you? Paul. Come here Catherine. Oh no not the telephone. 23:38.600 --> 23:49.560 Let go of me. Paul. I'll let go Catherine just as I did once before. But first. Stop it Paul. Please. Put down that candle stick. 23:49.560 --> 24:01.000 As she falls to the floor you put the heavy brass candlestick back on the table. 24:01.000 --> 24:04.560 Cross quickly to the French doors leading onto the balcony and open them 24:04.560 --> 24:09.200 wide. A moment later you stand near the railing high over the glittering city. 24:09.200 --> 24:14.040 Catherine's body in your arm. The little black book will tell them she was all 24:14.040 --> 24:19.280 alone. Won't it Paul? No more appointments. The body hurtling to the street will 24:19.280 --> 24:23.680 establish the moment of her death beyond any doubt and you can slip quietly down 24:23.680 --> 24:28.440 to the station. Just in time to make an appearance when the train arrives. You 24:28.440 --> 24:35.920 lift her high upon the railing and then. Cooper what are you doing? Let go of her. Put her down. 24:35.920 --> 24:43.240 Get away from me. Leave me alone. Okay Cooper. Okay. 24:43.240 --> 24:54.800 What the devil was he trying to? Good Lord. She's dead. How did he ever expect to get away with it? 24:54.800 --> 25:00.200 Operator get me the police. 25:00.200 --> 25:17.240 The Whistler will return in just a moment with a strange ending to tonight's story. Right now 25:17.240 --> 25:22.560 however I'd like to clear up another mystery that baffles a good many drivers. There are many 25:22.560 --> 25:27.640 brands of gasoline on the market. Some are naturally better than others. But how can you 25:27.640 --> 25:33.240 measure the quality of gasoline? Well there's one very simple way if you just keep this in mind. 25:33.240 --> 25:39.320 To give you superior performance, quicker starting, faster pickup and smoother knock-free 25:39.320 --> 25:45.280 power, a gasoline must help your motor run more efficiently. Now when your motor runs more 25:45.280 --> 25:50.240 efficiently you naturally get better mileage and mileage is something you can measure with your 25:50.240 --> 25:56.600 speedometer. That's why signal says your speedometer is your best yardstick of gasoline quality. 25:56.600 --> 26:04.600 Check yours and you'll find it's true. In gasoline it takes extra quality to go farther. And remember 26:04.600 --> 26:20.960 signal is the famous go farther gasoline. And now back to the Whistler. The last you remember Paul 26:20.960 --> 26:27.240 is the smashing blow of Eric's fist there in Catherine Baladon's hotel room on the 12th floor. 26:27.240 --> 26:36.840 Everything's quiet now, no tension, no fear, just soft warm blackness. No Paul it doesn't seem to 26:36.840 --> 26:41.920 matter now that you killed Catherine Baladon because she forced you to choose between murder 26:41.920 --> 26:47.380 and a brilliant career. And it doesn't matter either that on this night for the first time in 26:47.380 --> 26:52.600 all the years you've known her, she failed to follow the schedule in the little black book to 26:52.600 --> 26:57.640 the minute. You open your eyes blinking into the glare of a white light at police headquarters. 26:57.640 --> 27:04.120 Eric Baladon is talking to a quiet-faced man in plain clothes. At first I couldn't see how he 27:04.120 --> 27:10.040 expected to get away with it. The door unlocked and everything. I got up there and walked right in. I 27:10.040 --> 27:14.960 found him about to drop the body over the balcony rail to the street. Trying to make it look like a 27:14.960 --> 27:21.440 suicide. What were you doing there, Valid? I was keeping an appointment I had with her. You were a 27:21.440 --> 27:26.120 little late for that appointment, weren't you, Eric? Yeah, a boy's back with us. That's what did it, 27:26.120 --> 27:31.760 you know, Eric. For the first time in Catherine's life she didn't go by the book. What's he talking 27:31.760 --> 27:35.760 about? The notebook Miss Validon kept her appointments in. She changed the appointment, 27:35.760 --> 27:40.160 didn't she, Eric? She changed it. You know her better than that. That book was a religion with 27:40.160 --> 27:45.600 her. She lived by it. Don't tell me she lived by it. I saw that book back in Denver. Your appointment 27:45.600 --> 27:50.280 with her was to end at 11. That's where you slipped up, Cooper. No, I didn't slip up. I was too 27:50.280 --> 27:56.640 careful. I tell you, I saw it. That's not what I'm talking about. What do you mean? Take a look at 27:56.640 --> 28:06.280 your watch, Cooper. My watch? Yeah, you forgot to set it back. You see, Cooper, you're still on mountain 28:06.280 --> 28:30.880 standard time. Let that whistle be your signal for the Signal Oil Program, the Whistler, each 28:30.880 --> 28:36.720 Monday at 8. Brought to you by the Signal Oil Company, marketers of signal gasoline and motor 28:36.720 --> 28:42.840 oil and fine quality automotive accessories. Signal has asked me to remind you to get the most 28:42.840 --> 28:48.920 driving pleasure, drive at sensible speeds, be courteous, and obey traffic regulations. It may 28:48.920 --> 28:58.440 save a life, possibly your own. Featured in tonight's story were Jeanette Nolan and David 28:58.440 --> 29:04.440 Ellis. The Whistler was produced by George W. Allen with music by Wilbur Hatch, story by William 29:04.440 --> 29:10.840 Engvig, and was transmitted to our troops overseas by the Armed Forces Radio Service. This is Marvin 29:10.840 --> 29:29.840 Miller speaking for the Signal Oil Company. This is CBS, the Columbia Broadcasting System.